Sentences with phrase «of social thrillers»

Get Out was a fantastical horror movie that hit a little too close to home; after the film's $ 250 million success, Peele revealed that he wanted to make a series of social thrillers, mining the genre he's so quickly perfected.

The success bodes well for Peele's ambitions to write and direct an entire series of social thrillers.

It's clear that Peele is drawing on a long tradition of social thrillers and horror films.

Not exact matches

Jordan Peele's social thriller about the literal horrors of bodily racism is still one of 2017's most unforgettable films.

Though it drifts off into the ozone at the end, for most of its running time, «Never Here» is a low - key but effective psychological thriller which flirts with that looming issue of the social - media age: privacy, and the invasion thereof.

Hastily conceived... Enough is a manufactured and staid thriller that only trivializes the social illness of domestic violence

Paulina's unfathomable actions, and the limits of social justice, are examined unflinchingly in this «social thriller» of will and sacrifice.

Fine and enjoyable thriller and its mixture of satire, violence and social comment is fresh and invigorating, providing the perfect antidote to Miami Vice.

With a stellar international cast that includes Rachel Weisz, Anthony Hopkins, Jude Law, Ben Foster, Jamel Debbouze and Moritz Bleibtreu, 360 is a moving and exciting dramatic thriller that dazzlingly weaves together the stories of an array of people from disparate social backgrounds through their intersecting relationships.

There's not enough insight to the social phenomenon presented onscreen, but that doesn't make the utterly human horror of this thriller any less unsettling.

In addition to directing the George Clooney headlined social satire / thriller Money Monster, Foster has called the shots on episodes of Netflix series House of Cards, Orange is the New Black, and Black Mirror over that period of time.

Director Arthur Penn, at his peak, turned the movie into an ironic blend of twisted love story, dark comedy, caustic social portrait and breezy romantic crime thriller, with Bonnie and Clyde as a pair of deadly innocents, caught up in the poverty of the Depression and the turbulence of the»30s gangster period.

plays out as an absurdist chamber piece: a single - location thriller constructed out of tightly - observed social interactions.

After I realized how this movie massages nuanced social commentary (about fetishization of the african american body, caucasian self - image, etc.) into a film «genre» that does not neatly fit into any particular category (it's neither thriller, nor horror, nor comedy, but a taste of all three), I was absolutely impressed.

All in all, however, the film plays more like a revenge thriller than an emotive social document — losing a lot of its power, and all of its resonance, in the process.

The blood in a thriller like «Diehard» or a social film like «Menace II Society» isn't the same blood that drips out of a «Friday the 13th» or «Nightmare on Elm Street.»

With the right mix of action - thriller skewering and social / cultural digs, Key and Peele just might rescue the genre spoof from itself.

This film feels kind of like what you'd expect from a collision between George Clooney and the Coen brothers: a comical noir thriller with a hefty dose of social commentary.

Instead, Norwegian director Morten Tyldum, the man behind ace blackly - comic thriller Headhunters, is focusing on the struggles of the man himself — specifically his sexuality and the social pressures that weighed so heavily on him.

Sure, he was recreating the so - called «Get Out Challenge,» where fans of his uniformly praised «social thriller» (as he terms it) recreate that scene from the movie.

Following the success of Get Out, which grossed over $ 200 million on a $ 5 million budget and received unanimous acclaim, Peele signed a first - look deal with Universal Pictures, who will produce the director's next film, an untitled social thriller he also penned.

Jordan Peele, the mastermind of «Get Out,» a social thriller about American racism, became the first African American to earn producer, director and writer nominations for a single film; the academy nominated a female cinematographer, «Mudbound's» Rachel Morrison, for the first time in its 90 - year history; and Greta Gerwig became just the fifth woman recognized as a director, feted for her wry, observational coming - of - age story «Lady Bird.»

The debut season of Hulu's Emmy - nominated series The Handmaid's Tale caught the attention of lovers of dark suspense thrillers and poignant social commentary last year.

Damien Chazelle has taken a relatively staid subject like the relationship between a music student and his teacher and turned it into a thriller built on a brilliant undercurrent of social commentary about what it takes to make it in an increasingly competitive and cutthroat world.

SEE THIS MOVIE IF: you enjoy your thrillers with a dose of social commentary OR you want a glimpse of the new Batman body in progress.

Subversion, mischief and tension in the highest traditions of Hitchcock are alive and well in this bold and brilliant thriller debut from writer - director Jordan Peele that darkly sends up the social fissures that still exist in US race relations.

Paranoid cult thrillers have become popular lately (The Sacrament is but one example), but setting The Invitation at a Hollywood Hills dinner party, where any number of social anxieties are given a dark, sinister shading is a masterstroke.

1967's «Guess Who's Coming to Dinner» isn't necessarily a thriller, but it's still a lasting symbol of the pain, conflict and true social awkwardness that arises when breaking bread with others — and it further added to the legends of Sidney Poitier, Spencer Tracy and Katharine Hepburn.

That's the superficial starting point of The Gift, the directorial debut of actor Joel Edgerton, who takes the cuckoo - in - the - nest thriller template — which became ubiquitous in the early»90s with films like Pacific Heights, Unlawful Entry, Single White Female and The Hand That Rocks the Cradle — and, by introducing psychological depth and a streak of social conscience, fashions an intriguing morality tale.

She made her screen debut in the slasher film Urban Legends: Bloody Mary (2005), went on to have a supporting role in the independent coming - of - age drama Tanner Hall (2009), and has since starred in the horror remake A Nightmare on Elm Street (2010), the biographical drama The Social Network (2010), the thriller remake The Girl with the Dragon Tattoo (2011), and the romantic drama Carol (2015).

CUSTODY (note: this film is out in 2018) A rare instance of social realism harmonising with elements of the horror and thriller to create a heart - stopping, anxiety - inducing drama that not only enthrals but will also open audience's eyes to the hideousness of spousal abuse.

«Better Luck Tomorrow» is not just a thriller, not just a social commentary, not just a comedy or a romance, but all of those in a clearly seen, brilliantly made film.

The website has released its 100 best reviewed movies of 2017, with Jordan Peele's social thriller «Get Out» topping the list this year.

Jordan Peele didn't make any friends in the HFPA when he appeared to complain about his social thriller «Get Out» being slotted in the comedy category, but it's hard to imagine that voters will take it out on him and not nominate one of the year's biggest sensations.

Other films carried the torch for film as a medium for social justice: the angry, bracing I, Daniel Blake, Spotlight — which played like the taut political thrillers made by Pakula and Lumet in the 70s — and Katharine Round's lucid expose of the effects of inequality, The Divide.

This three - disc set boxes up Shoot First, Die Later (1974), a ruthless crime drama starring Luc Merenda as a corrupt cop on a mission of righteous vengeance (previously released as a stand - alone disc), with two disc debuts: Naked Violence (1969), a juvenile delinquent cop drama by way of social commentary, and Kidnap Syndicate (1975), a revenge thriller with Merenda, this time playing an innocent bystander roused to take justice into his own hands.

pleads a nearby placard as serial killer Hans Beckert (Peter Lorre) closes in on little Elsie Beckmann... In his harrowing masterwork M, Fritz Lang merges trenchant social commentary with chilling suspense, creating a panorama of private madness and public hysteria that to this day remains the blueprint for the psychological thriller.

Kaluuya picked up a nod for his role in Get Out, Jordan Peele's stirring social thriller, which also picked up a slew of other nominations, including best original screenplay, best director, and best picture.

Its mood is something of another marvel, equal parts Ermanno Olmi social comedy and Alfred Hitchcock thriller, with the very best of absurdest Czech New Wave stylings thrown in.

David Robert Mitchell, director of 2014's horror hit It Follows, made this list last year with this same feature and though we still don't have much details outside of the cast (Riley Keough, Andrew Garfield, Topher Grace) this looks to shift his focus from social horror to crime thriller.

In the tradition of the best classic social thrillers, Get Out takes a topic that is often approached cerebrally — casual racism — and turns it into something you feel in your tummy.

Part social issue film, part thriller, the doc is full of complexities and gray areas that are embodied by a truly bizarre and elusive character.

The quirk - fueled comedy - thriller about a bunch of thieves getting hunted down by one very pissed off woman and her eccentric neighbor balanced absolute hilarity with clever social commentary.

An assured piece of filmmaking, Cold Hell succeeds in mixing social realism with more standard thriller elements and scenes of gut - wrenching violence.

Indeed, in this age of social - media catfishing, it's not hard to imagine an alternative take on «Man Up» that frames this narrative as a psychological thriller.

Get Out from comedian turned filmmaker Jordan Peele masters a delicate balance of witty thriller, social satire, modern horror, and commentary on race on the so - called «post-racial» era.

If you go into this expecting a slick, international thriller with some relevant social commentary about relations between the United States and Mexico, the state of corporate greed and how bad things often happen to good people — well, there's a LITTLE bit of that stuff lightly sprinkled in.

As a thriller, Black Swan doesn't do much more than graft a few phantom frames onto the periphery of Jean Benoit - Levy's Ballerina, Altman's The Company, or Powell / Pressburger's The Red Shoes — but note how the picture owes its creepy intensity to the sort of social satire - through - body horror popularized by David Cronenberg.

Canadians have always been at the vanguard of zombie movies, from Bob Clark's Deathdream, an inspired variation on the «Monkey's Paw» myth about a reanimated soldier returning to his family, to David Cronenberg's still - amazing Rabid, which cross-bred George A. Romero's gory social satire with soft - core titillation, to Bruce McDonald's underseen, language - is - the - virus thriller Pontypool.

Baker: So I have to say what you've done with this social thriller of yours is incredible, it really is.